page_title: Philip Larkin
section_title: Reception history
hierarchical_section_title: Philip Larkin / Legacy / Reception history
caption_attribution_description: English: The Arundel memorial effigies at Chichester Cathedral in Chichester, England, which inspired the poem An Arundel Tomb by Philip Larkin. (Note: The effigies in Chichester Cathedral are attributed to Richard FitzAlan and Eleanor of Lancaster. FitzAlan and Eleanor were actually buried in Lewes Priory. Although Larkin called the effigies a "tomb", they are actually a "memorial". See Talk, Distinction needs to be made: Not a "tomb" but a "memorial".)
context_page_description: Philip Arthur Larkin CH CBE FRSL was an English poet, novelist, and librarian. His first book of poetry, The North Ship, was published in 1945, followed by two novels, Jill and A Girl in Winter, and he came to prominence in 1955 with the publication of his second collection of poems, The Less Deceived, followed by The Whitsun Weddings and High Windows. He contributed to The Daily Telegraph as its jazz critic from 1961 to 1971, articles gathered in All What Jazz: A Record Diary 1961–71, and he edited The Oxford Book of Twentieth Century English Verse. His many honours include the Queen's Gold Medal for Poetry. He was offered, but declined, the position of Poet Laureate in 1984, following the death of Sir John Betjeman.
  After graduating from Oxford University in 1943 with a first in English Language and Literature, Larkin became a librarian. It was during the thirty years he worked with distinction as university librarian at the Brynmor Jones Library at the University of Hull that he produced the greater part of his published work.
context_section_description: When first published in 1945, The North Ship received just one review, in the Coventry Evening Telegraph, which concluded "Mr Larkin has an inner vision that must be sought for with care. His recondite imagery is couched in phrases that make up in a kind of wistful hinted beauty what they lack in lucidity. Mr Larkin's readers must at present be confined to a small circle. Perhaps his work will gain wider appeal as his genius becomes more mature?" A few years later, though, the poet and critic Charles Madge came across the book and wrote to Larkin with his compliments. When the collection was reissued in 1966 it was presented as a work of juvenilia, and the reviews were gentle and respectful; the most forthright praise came from Elizabeth Jennings in The Spectator: "few will question the intrinsic value of The North Ship or the importance of its being reprinted now. It is good to know that Larkin could write so well when still so young."
  The Less Deceived was first noticed by The Times, who included it in its List of Books of 1955. In its wake many other reviews followed; "most of them concentrated ... on the book's emotional impact and its sophisticated, witty language." The Spectator felt the collection was "in the running for the best published in this country since the war"; G. S. Fraser, referring to Larkin's perceived association with The Movement felt that Larkin exemplified "everything that is good in this 'new movement' and none of its faults". The TLS called him "a poet of quite exceptional importance", and in June 1956 the Times Educational Supplement was fulsome: "As native as a Whitstable oyster, as sharp an expression of contemporary thought and experience as anything written in our time, as immediate in its appeal as the lyric poetry of an earlier day, it may well be regarded by posterity as a poetic monument that marks the triumph over the formless mystifications of the last twenty years. With Larkin poetry is on its way back to the middlebrow public." Reviewing the book in America the poet Robert Lowell wrote, "No post-war poetry has so caught the moment, and caught it without straining after its ephemera. It's a hesitant, groping mumble, resolutely experienced, resolutely perfect in its artistic methods."
  In time, there was a counter-reaction: David Wright wrote in Encounter that The Less Deceived suffered from the "palsy of playing safe"; in April 1957 Charles Tomlinson wrote a piece for the journal Essays in Criticism, "The Middlebrow Muse", attacking The Movement's poets for their "middle-cum-lowbrowism", "suburban mental ratio" and "parochialism"—Larkin had a "tenderly nursed sense of defeat". In 1962 A. Alvarez, the compiler of an anthology entitled The New Poetry, famously accused Larkin of "gentility, neo-Georgian pastoralism, and a failure to deal with the violent extremes of contemporary life".
  When The Whitsun Weddings was released Alvarez continued his attacks in a review in The Observer, complaining of the "drab circumspection" of Larkin's "commonplace" subject-matter. Praise outweighed criticism; John Betjeman felt Larkin had "closed the gap between poetry and the public which the experiments and obscurity of the last fifty years have done so much to widen." In The New York Review of Books Christopher Ricks wrote of the "refinement of self-consciousness, usually flawless in its execution" and Larkin's summoning up of "the world of all of us, the place where, in the end, we find our happiness, or not at all." He felt Larkin to be "the best poet England now has."
  In his biography Richard Bradford writes that the reviews for High Windows showed "genuine admiration" but notes that they typically encountered problems describing "the individual genius at work" in poems such as "Annus Mirabilis", "The Explosion" and "The Building" while also explaining why each were "so radically different" from one another. Robert Nye in The Times overcame this problem "by treating the differences as ineffective masks for a consistently nasty presence".
  In Larkin at Sixty, amongst the portraits by friends and coll
caption: This tomb of the Earl of Arundel and his wife Eleanor of Lancaster was the inspiration for Larkin's poem "An Arundel Tomb"
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